Deliberately paced, provocative stories that play on the many faces of fear and trembling.
Turkish American writer Orhan delivers somber, sometimes surrealistic portraits of life in Turkey in this debut story collection.
A slender sanitation worker is sent into an alley that her heftier male counterparts can’t negotiate. There she finds evidence of one draconian government decree after another: discarded books, sheet music, a violin and cello, because “the city’s orchestras and philharmonics had been ordered to compose and perform with uniquely Turkish instruments.” Soon it’s living musicians who are being scrapped, and rescuing them comes at the price of a harsh sentence in a prison where no one—guards, inmates, bureaucrats—is free. Freedom is always a desideratum, especially under the most strangely oppressive conditions, as when a Turkish army unit is dispatched to the Kurdish borderlands with orders to kill all the mules. “We’re not in Syria, at least,” says their sergeant, but they most certainly are in a place where a soldier from one ethnic group is always ready to kill a soldier from another, even if they fight under the same flag. Mules, villagers, soldiers alike suffer; says the narrator, “The mules are looking at us, saying: Don’t kill us, don’t shoot us. And we are saying back: Don’t move so much, just die easy, OK?” When people aren’t dying of bullets and fire, they’re dying of spiritual suffocation, and sometimes literal suffocation as well, as when Orhan has the real-world dictator Erdoğan descend on a village suffering a mining disaster to dispense pabulum: “He tells us that mining accidents are typical, they are to be expected.” Orhan’s incisive and often improbable stories are more than parables, though there’s plenty of allusion and allegory tucked into the prose; they’d surely earn him jail time at home. But, one elegiac story tells us, being in relative freedom in exile (in, of all places, Kansas) takes a toll as well, with one’s native language “having become functionless through the course of evolution.”
Deliberately paced, provocative stories that play on the many faces of fear and trembling.Pub Date: April 25, 2023
ISBN: 9780593449462
Page Count: 240
Publisher: Random House
Review Posted Online: Jan. 24, 2023
Kirkus Reviews Issue: Feb. 15, 2023
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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